BROADSIDE Volume X, #2 November, 2004

Home , Alessandro Scarlatti, Concerto grosso, Georg Muffat, Lautenwerck, Sackbut, Viol

The8 Atlanta Early Music Alliance B R O A D S I D E November 2004 November 2004 T H E AB TR L O A AN TD A S EI AD RE L Y M U S I C A L L I A N C E 1 P. O. Box 663 Decatur, Georgia 30030 BROADSIDE Volume X, #2 November, 2004

AEMA MISSION It is the mission of the Atlanta Early Music Alliance to foster enjoyment and awareness of the historically informed performance of music, with spe- The Atlanta Early cial emphasis on music written before 1800. Its mission Music Alliance will be accomplished through www.atlema.org dissemination and coordi- nation of information, education and financial support. In this issue:

Midwinter Work- shop - pages 3 and 7 The Alliance: News of AEMA People and Communities “Historically In- formed” Sources - page 1 Martha Bishop How We Become “Historically Informed” The New Trinity Baroque concert with Marion Verbruggen will Please also put on your calendar the January 27, 2005, offers Kwanza by Pat DeWitt be Sunday, January 30th (instead of Saturday, January 29th). On performance of Hoschan’ah Rabbah in Casale Monferrato (1733). Saturday there will be a Recorder Workshop in Oxford, an all-day This Jewish cantata from a community in northern Italy has been arrangement for event with Marion, with classes in other instruments and voice recently reconstructed by baroque oboist Matthew Peaceman, an early instruments The term “historically informed” suggests that of education. Today they are the most direct offered by the members of NTB. American-born Jewish musician who now works in Germany. Mr. - page 4-5 there exists some historical information on which source of information on how to perform music Peaceman will be the guest conductor for this performance. The a performance we would approve should be based. of their periods, although they inevitably leave Tish Berlin writes that The American Recorder Society is having cantata will feature male voices and an orchestra of strings and Review: Atlanta Indeed, much information does exist, but it can be many questions unanswered. The earliest was its winter board meeting in Birmingham the first weekend of oboes. Also on the concert will be Vivaldi’s Sinfonia in G Major Baroque St. hard to interpret. For example, the picture above, Arnolt Schlick’s Spiegel der Orgelmacher of 1511. February. Piffaro will be playing in Birmingham that Friday. [more for strings; Vivaldi’s Concerto in C Major for recorder (Jody from a 1546 publication of Tylman Susato, shows Ganassi’s La Fontegara, dealing with the recorder, information later—Ed.] Miller), oboe (Peaceman), two violins (Roark Miller and Shawn Cecelia musicians in a church. It seems to be a mass, since and Ortiz’ viol treatise, Tratado de glosas, are well- Pagilarini), and continuo; and trios and quartets by the Jewish - page 2 there is a priest at the altar, and he may be elevating known 16th century works, with Tosi’s Opinioni The Atlanta Schola Cantorum is currently auditioning candidates Italian baroque composer Salomone Rossi. Admission is free and the host. Clearly we have adult singers, young (boy) de’ cantori antichi e moderni (1723) as a for the position of Music Director, to begin in January, 2005. the concert will be at 8 PM in Cannon Chapel at Emory Review: Trio Medi- singers, and a trombone or sackbut player. But what foundation of bel canto singing. Current music director Cynthis Dedakis is leaving to pursue an University. aeval is the music they are performing? How can they all exciting opportunity in Washington, DC. Atlanta Schola Cantorum see it? And what is the bishop in the foreground 2. General technical works on music, usually called is a 30 voice a cappella early music choir. For further information, David Buice, Oglethorpe University Museum of Art - page 6 saying or singing, and what is that naked mermaid theory. They may supply hints or even specific contact Leslie at [email protected]. Some further information Harpsichordist-in-Residence, will perform a seasonal concert, Concert Updates doing on his lectern? directions for certain aspects of performance. about the group can be found at their website: “Another Lautenwerck Christmas”. It will feature more strange The earliest of these date to the 900s and were www.atlantaschola.org. and familiar music for the holidays, played on David Buice’s gut- - page 7 Sources that come from the time and culture of intended to help monks learn the many chants strung lautenwerck (lute-harpsichord) built by Anden Houben. AEMA Communi- the music of interest are considered primary of the Christian liturgy. They teach the modes, The Emory Early Music Ensemble now consists of the Emory Two opportunities to enjoy relaxing seasonal music before being sources, while those articles and books written but say nothing about how to produce the voice. Renaissance Vocal Ensemble, the Emory Renaissance Band, the overwhelmed by the holidays! ties about those primary sources are secondary sources. Some describe how to embellish the plainsong Emory Baroque Orchestra, and other chamber groups. Since the - page 8 Some examples of primary sources are: by adding parts at the fourth, fifth, and octave. 1960s, the Emory Early Music Ensemble has perfomed historical Tuesday, December 7, and Friday, December 10 Johannes de Grocheio, at the end of the 13th music on instruments appropriate to the period. With nearly 60 1. Methods, or treatises on how to play, sing, century, noted that a good player on the vielle members in three primary ensembles, the group has grown Both recitals at 7:30 p.m. or dance. These priceless resources would play all types of secular music, and he tremendously, giving ensemble members an opportunity to th Ticket Price: $15.00 flourished during the 16 century and the mentions preluding and postluding on the perform music in an historcially-informed manner. Baroque, as printing satisfied the demands melodies. At about the same time, Jerome of of consumers aspiring to a higher level Moravia gave tunings for the vielle. 2 B R O A D S I D E November 2004 November 2004 RegistrationB R for O Mid-WinterA D S I D EWorkshop 7 Atlanta, GA, January 21st and 22nd , 2005 “Historically Informed” continued For a full description of the workshop, please see page 3 of the Broadside. 3. Extant instruments. Some of the oldest of 7. General writings of the period. Particularly Last Name……………………………….First Name…………………………………. Female__ Male__ THE ATLANTA these in Europe are organs, which preserve a in the earliest periods, any scrap of EARLY MUSIC ALLIANCE pitch standard as well as a tonal choice in the evidence may be valuable because there is Street……………………………………….City……………………………………..State……Zip…………… design of their pipes. A chest of recorders so little direct evidence. Even in later Daytime phone…………………..Evening phone……………………E-mail………………………………….. BOARD OF DIRECTORS owned by Henry VIII of England exists and periods, references in novels such as Jane supports the contention that polyphonic music Austen’s may provide insights into the place Predrag Gosta, President in the 16th century was played on such matched of music in daily life. Housing: I would like to stay in someone’s home in the Atlanta area % Kurt-Alexander Zeller, Vice instruments. I would like to stay in a Motel/ Hotel nearby and need a recommendation % There may be some justification for using the practice President & President I live in the Atlanta Metro area and am willing to offer hospitality to participants 1 female___ 1 male___ Elect 4. Iconographic evidence, pictures, sculpture, etc. of professional musicians of today as a model, if Many conjectural designs for early instruments they are well-informed. This may be especially true 2 females___ 2 males___ Jorg Voss, Treasurer, have been based on pictures; they also show with instrumentalists, because an excellent performer Other……………………………………….. Education Committee combinations of instruments and voice and can realize the potential of a historic instrument or Chair often locations for the music-making. This reproduction. However, this cannot supplant actual evidence covers Europe from the middle ages historical evidence, and one should beware of what We waive a $10 music fee, if you register before Dec. 7, 2004 Nancy Buss on, but it can be very difficult to interpret. For is “trendy”. The “early music pitch standard” of A example, do the scowling faces on some singers = 415 that emerged sometime during the 1960s was Fees: Basic fee: $65 AEMA or ARS-Atlanta Member: $55 $……………. George Lucktenberg suggest that singers sang in a strained manner? an example; we now realize that pitch standards Emerging Recorder Player (Sat. sessions): $35 $……………. Can one really play the vielle held straight varied and in places were higher than A = 440. Sylvia Chandler across the chest (or was this just a pretty way Music fee, scholarship recipient or registration past Dec. 7th: $10 $……………. to show the instrument? Terry Murphy 5. Bookkeeping. The records of establishments Discussion on this topic, central to the Total due for the workshop………………………………...$………….... Susan Patterson, that included musicians, sacred and secular, mission of AEMA, is welcomed. Write a Make your check or money order payable to: Atlanta Early Music Alliance. Education Committee document their nature and number and by letter to the editor! Write a column about Refunds, minus $10 for provided music, can be granted, if a cancellation is received by January 10, 2005. member implication the nature and number necessary your experiences trying to become histori- to perform music of their place and time. Eckhart Richter, Historian cally informed. Please contact the editor *AEMA membership dues (optional): $20 $……………. 6. Music. The contention that polyphonic music before embarking on a large project. *ARS-Atlanta membership (optional) $15 (general) $……………. of the 14th century was meant for soloists is *ARS-Atlanta membership (optional) $ 8 (senior/student) $…………… based on the fact that the manuscripts were Patricia DeWitt, Broadside only large enough for 3 or 4 to look on, whereas *If you join here, you will qualify for the member workshop rate of $55. Editor the plainsong manuscripts used at the time were Your membership forms will be mailed to you by AEMA or ARS-Atlanta very large and could be used by the 12-18 Your Voice or Instrument (please check mark): singers on the rolls of the churches. (But what is the music in the book pictured on page 1?) Voice: Soprano ___ Alto ___ Tenor___ Bass___ PUBLICATION SCHEDULE Recorder(s): Sopranino___ Soprano___ Alto___ Tenor___ Bass___ Other___…………………………….. Broadside is published The arrangement of partbooks typical of the later 16th century suggests a private ensemble Viol(s): Treble___ Tenor___ Bass___ I read these clefs: Treble(G)___ Alto (C on middle line)___ Bass___ monthly September - May. gathered around a table, rather than public The copy deadline is the 20th performance. Other Early Instruments:……………………………………………………………………………………….. of each month. Your proficiency on your instrument: Emerging___ Intermediate___ Advanced___

SUBMISSIONS Review: Music for Saint Cecelia We gladly welcome articles Send your registration to: Jorg F. Voss (AEMA and ARS), 1495 Ridgefield Drive, Roswell, GA 30075, and letters but reserve the right by Frederick Tarrant by December 7th, 2004. to edit all submissions. E-mail For questions: e-mail: [email protected] or phone 770-998-3575. submission is preferred. Each The Atlanta Baroque Orchestra honored the patron saint weakest moments of the concert. The ABO was in submission must include the author’s name, address and of music in its second concert of the season, which excellent form during the ode’s opening symphony, phone number. Letters must be took place in Peachtree Road United Methodist Church ritornellos, and instrumental interlude, but the signed. Send submissions to: on November 21, 2004. The concert, entitled Welcome Cecilian Singers, while generally competent, could PatriciaDeWitt, to all the Pleasures: Music for Saint Cecilia, took place on a not match the professional musical qualities of the [email protected], or 19 drizzly afternoon, which, when coupled with the overly instrumentalists. The Atlanta Rosewood Road, Rome, GA 30165. air-conditioned chapel, made it easy to imagine oneself being transported to a drafty concert chamber in A small ensemble of soloists drawn from the ABO performed Sonatas II and IV from Fidicinium Sacro- Early Music Calendar Assistance with seventeenth-century London. This imaginary setting Profanum by Heinrich Biber. These marvelous newsletter logistics is was appropriate considering the prominence of Henry December 2004 provided as a service Purcell’s music on the program. In fact, Purcell’s Welcome chamber works embody two highly contrasting facets project of the Zeta to all the Pleasures, the centerpiece of the concert, was of Biber’s art. Sonata II in F Major epitomizes Biber 18 Sat New Trinity Baroque. Charpentier’s Messe de minuit with 27 Thu Emory Early Music Ensemble. Matthew Peaceman, Epsilon chapterof Phi the extrovert, whereas the Sonata IV in G Minor the Canterbury Choir of St. Bartholomew’s. 8:00 pm, St. Baroque oboe & guest conductor. Hebrew cantata Mu Alpha Sinfonia, composed for the London Musical Society’s inaugural Bartholomew’s Episcopal Church. Hoschan’a Rabbah in Casale Monferrato (1732) 8:00 pm, National Music concert of the St. Cecilia Festival in 1683. displays Biber at his most serious and introspective. Cannon Chapel, Emory University. Free. 404-727-5050. Fraternity, at Shorter The players gave affectively characterized readings January 2005 www.arts.emory.edu College, Peter DeWitt, The ABO opened their concert with Purcell’s incidental for both, and although a momentary lapse of faculty advisor. 21 Fri AEMA Mid-Winter Workshop for recorders, viols & 29 Sat Masterclass with Marion Verbruggen, recorder, and music to Abdelazar. This familiar suite features some ensemble threatened to mar the G-minor sonata, the voice. Featured in this issue. members of New Trinity Baroque. 10:00 am–7:00 pm, of Purcell’s most popular music, and the ABO’s players recovered with relatively little loss of musical Oxford College of Emory University. performance did not disappoint. The Rondeau in continuity. 23 Sun Atlanta Baroque Orchestra. “Into the High Woods: The particular surged with dramatically grand gestures that Song of the Hautbois.” Works by Lully, Albinoni & 30 Sun New Trinity Baroque. Virtuosi recorder concerti with Both halves of the concert closed with large-scale Telemann. Matthew Peaceman, oboist & guest director; Marion Verbruggen, recorder. 8:00 pm, Peachtree complemented the lighter aires and dances that followed. Judith Overcash, soprano soloist in Bach’s “Wedding Christian Church. Purcell’s Welcome to all the Pleasures, which commenced works that featured contrasts between a smaller Cantata.” 3:00 pm, Peachtree Road United Methodist ensemble, or concertino, and the larger orchestra. Church. the second half, presented both the strongest and Continued on page 6 6 B R O A D S I D E November 2004 November 2004 Mid-WB R interO A D W S orkshopI D E 3 Saint Cecelia (continued from page 2) “Music of England and Spain in the 16th Century” Alessandro Scarlatti’s Concerto Grosso in F Minor received a strong Key to any successful performance is strong leadership, and Guest for Voices, Recorders and Viols (and others) performance, in spite of slight tuning problems exacerbated by the Director, Dana Maiben, proved to be an excellent choice for the st nd wet weather and cold draft. Of particular interest, the concertino ABO. Her intensity of musical expression, communicative body Atlanta, GA , January 21 and 22 , 2005 group was positioned among the other players so that the contrasts language, clarity of violin tone, and her informal comments to the between the larger and smaller groups were subtler than one often audience successfully conveyed her musical vision to both the hears in live performances. The overall effect of this placement was orchestra and audience. One looks forward to seeing Ms. Maiben Sponsored by the Atlanta Early Music Alliance (AEMA), the Atlanta Chapter of the American Recorder highly satisfying. with the ABO again. Society (ARS-Atlanta) and encouraged by regional members of the Viola da Gamba Society The ABO concluded their St. Cecilia concert with Georg Muffat’s Suite V from Armonico Tributo. This beautiful work elicited the most Faculty: Patricia Petersen, Stewart Carter and Jody Miller, Recorders; committed and heart-felt playing of the afternoon. Violin soloists Our Reviewer: Dana Maiben and Gesa Kordes, along with cellist Brent Wissick, Dr. Fred Tarrant received his Ph.D. in Musicology from Indiana Selina Carter and Susan Patterson, Viols; Charles Tucker, Voices molded their phrases with exquisite refinement, and their reciprocal University in 2000. He also holds M. M. and B. M. degrees from Faculty members are well known in Early Music performance and teaching and have vast experience and excellent musical dialogues, personalized with spontaneous expressions of joy Baylor University. Currently he is Assistant Professor of Music reputation in leading workshops. on their faces, contributed to a very special performance indeed. at Shorter College. His most recent appointment before that was at the University of Toledo. In addition to his dissertation research Music: Emphasis will be on 16th Century Music. Each participant will receive music with a detailed confirmation letter. The on John Blow (1649-1708, a teacher of Purcell), he is interested music is included in the fee, if registration is postmarked November 30th or earlier. For late registration, there will be a music charge in Anglican church music in general, 19th and 20th century of $10. If you play a transposing instrument, please be ready to transpose the music yourself. symphonies, and non-Western cultures and world music.

Dates and times: The workshop will start on Friday, January 21st at 6:30 PM with a joint session. It will continue Saturday, Review: Trio Mediaeval January 22nd at 9 AM and finish with a final joint session before 6 PM. by Pat DeWitt Place in the Atlanta area: Music Education Building, Clayton College and State University, Morrow, GA, south of Atlanta.

For their program at Spivey Hall, Saturday, Nov. 13, this vocal tells about the performers, and often about the music as a thing in Participants: Participants should be at least 14 years of age, unless recommended by a music teacher in writing. You should ensemble of three women from Norway and Sweden presented a itself, but not about the music in its time and place. It reminded me have intermediate or advanced ability in playing your Recorders or Viols. (Please see also: “Emerging Recorder Players”, below). th program of Italian laude or spiritual songs from the 13 century, Anonymous IV’s idealized performance of Sacred Harp music. I Voices should be able to sight-read with some assistance. Other “early” instruments are very welcome! English 14th century sacred music, and Norwegian songs and ballads. know from personal experience the difference between that and the The laude were performed monophonically or with organum-like practice of actual Sacred Harp singers. polyphony, and the English pieces for three voices were performed Cost: the fee will be $65. Members of AEMA and Atlanta ARS will receive a discount of $10. (presumably) as written. The Norwegian selections were arranged (You can join ARS-Atlanta for $ 15 or $ 8 as a student/senior; or AEMA for $20; and qualify for the discount) either by group members or by Norwegian folk musicians. If you register before December 7th, we will waive the music fee of $10. Reviewers Needed! As the program notes repeatedly assured us, this is a most attractive Meals are the participant’s responsibility. Housing can be provided in the homes of musicians in Atlanta. If you prefer to stay at a ensemble in every way. The three ladies, redhead, brunette, and blond, The Broadside has always published concert reviews. But we need hotel or motel, we can make recommendations. were attired in three pale metallic shades. Their pure tone and more reviewers! Here are a few hints for the prospective reviewer, presented in hopes of giving some of our readers the confidence intonation was ingratiating and allowed the audience to appreciate to write a review. There is no pay involved, but you do get a byline. the polyphony in the English sacred music, some of which was quite Look at the concert reminders on the opposite page and volun- Emerging Recorder Players: virtuosic especially for the upper voice (triplum). The warm tones teer! Contact the editor before embarking on a review. The main sessions are planned primarily for intermediate and advanced players, age 14 or older. of the lowest voice formed an effective tenor. · Find a few overarching themes and write about them If you are an emerging Recorder player, we can plan a separate group Recorder session for Saturday, led by a local musician, for a rather than recounting the program in order. It’s more fee of $ 35. The prerequisite is that you have a basic knowledge of music notation for your instrument and know how the notes are Although the experience of hearing this group was pleasant, I was played. definitely not “transported to another time” as Emily Stevenson interesting that way. · How did the performer(s) show their own insight into remarked in the last issue of the Broadside. Trio Mediaeval seems to Scholarships: A few scholarships for intermediate or advanced players, aged 14 or above, are available upon a written personal or have as their mission the impeccable performance of various kinds the nature of the music? What was their “take” on it? · What was unusually good about the performance? What teacher request. Fees would be waived, except for a $10 charge for music. With the scholarship, there is an expectation to help with of music according to an unvarying aesthetic. That aesthetic a few chores before, during and/or after the workshop. prescribes pure bell-like tone, arch-formed phrases, and a cordial made it so? blend of the three distinct voices. Quoted reviews in the program · What could be improved upon? marveled at how their early music mixed so well with their · What surprised you? Please see the registration form on page 7 of the Broadside! contemporary music, but why should it not, if all is performed with · What did you learn? the same gesture and presentation? To be fair, the Norwegian secular · Use the thesaurus. Use metaphors. Try to find a new way Register with: Jorg F. Voss (AEMA and ARS), 1495 Ridgefield Drive, Roswell, GA 30075, music received a somewhat more vigorous interpretation, but every to say good or well done or excellent. by December 7, 2004 · Put your own personality into it. phrase still tapered off at the end. Questions: e-mail: [email protected] or phone: 770-998-3575. This performance was more “styling” than “interpretation”. This may not be a criticism to some, but one wonders how historically informed a performance of the music of a religious cult that practiced flagellation can be if it is completely bloodless. Such a performance 4 B R O A D S I D E November 2004 November 2004 B R O A D S I D E 5 2 20 When All the Peoples on This Earth œ & œ œ œ œ œ œ . œ. œ œ . Kwanza carol, arr. Martha Bishop œ œ œ œ œ œ œ œ œ œ Melody 5 Sop., ten. 3 œœ. œ œ œ œ œ j recorders, & 4 œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ j j j œ j tr. viol œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Alto rec., 3 Œ. Ó. Ó. Ó. Ó. Ó. ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ tr., ten. viols & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Bass rec., œ œ ? 3 . œ œ œ œ œ œ œ œ œ œ œ œ 25 bass viol 4 Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œœ œ (pizz.opt.) œ œ œ œ œ œ œ œ œ ‰‰ J œ œ J œ œ œ œ & œ J œ œ J œ Melody 10 œ. œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ. œ œœ. œ œ œ œ œ œ & j œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œ ‰Œ œ œ œ œ œ œ œ œ œ œœ œ œ & Ó. Ó. Ó ‰ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ 30 ? œ œ œ œ œ œ jœœœœ œ j œ œ œ œ œ œ œ œ œ œ œ ‰Œ Ó. Ó. Ó. & œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ J J œ œ œ ˙. 15 . œ œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ ˙. & œ œ œ œ œ œ œ. œ œœ. œ œ & . œ. œ œ . œ œ œ œ. œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œœ œœœ œœ œ œœ œœœ œ & œ œ œ œ œ œ œ œ œ œœ œœ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? Ó. Ó. Ó. Ó. Ó. œ œ œ œ œ œ Happy Holidays 2004 from Martha Bishop!